IliiiliiniHHiilllftillirirtif I ' ,■11^ i\r cW^^^^v ,{^Ai Mjm.:miM)m College of Architecture Library Cornell University 76(0) £63 CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY Cornell University Library NA 7610.E53C8 Country houses, 3 1924 015 196 300 DATE DUE urffr? "■^^ AR^ ^™8^1WA iS CAYLORD PRINTED IN U.S.A. \^y im Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015196300 TO ONE WHO APPRECIATES REFINEMENT, BEAUTY AND DIGNITY IN ART AS IN LIFE V, COUNTRY HOUSES BY AYMAR EMBURY, II SELECTED AND EDITED BY HENRY H. SAYLOR 1914 DOUBLEDAY, PAGE & COMPANY GARDEN CITY, NEW YORK E.V 3' <^ 7tM Copyright, 1914, by DOUBLEDAY, PaGE & CoMPANY All rights reserved, including that of translation into foreign languages including the S c andinavian COUNTRY HOUSES CONTENTS PAGE Introduction by the Editor i Note by the Architect 9 The Houses Illustrated Mr. H. S. Clark, New Canaan, Conn 12 Mr. Louis Starr, Jr., Tenafly, N. J 18 Mr. Henry R. Towne, Litchfield, Conn 20 Mr. NichoU Floyd, Jr., Garden City, L. 1 27 Mr. F. P. Clarke, Garden City, L. 1 30 Mr. John A. Kingman, Bridgeport, Conn 32 Mrs. Harrison Sanford, Litchfield, Conn 35 Mrs. St. George Barber, South River, Md 38 Mr. George B. Wightman, Great Neck, L. 1 40 "Hillcrest," Englewood, N. J 42 A Cottage on the Weymouth Estate, Southern Pines, N. C. . . 44 Mr. E. S. Clarke, Tenafly, N. J 46 Mr. Marshall Fry, Southampton, L. 1. 48 Mr. Hirer King, Great Neck, L. 1 51 Mr. Swift Tarbell, Garden City, L. 1 54 Mr. E. M. Speer, Englewood, N. J 56 Mr. R. M. ElHs, Great Neck, L. 1 58 Mr. F. E. Richart, WellsviUe, N. Y 60 Mr. George R. Ainsworth, Great Neck, L. 1 63 A House on the South Side of Stewart Avenue, Garden City, L. I. 66 Mrs. George M. Gales, Great Neck, L. 1 68 Mr. E. T. Mclntyre, Great Neck, L. 1 70 Mr. Lee Wilson Dodd, New Haven, Conn 72 Mrs. E. R. Graeme, Englewood, N. J. 76 Mr. Ralph Peters, Garden City, L. 1 78 Mr. Henry S. Orr, Garden City, L. 1 83 Mr. Stanley G. Flagg, Jr., Stowe, Pa 86 Workmen's Cottages for Mr. Stanley G. Flagg, Jr., Villa Nova, Pa. 88 Mr. Frederick Jordan, Great Neck, L. 1 90 Mr. Jerome C. Bull, Tuckahoe, N. Y 92 Mr. Douglas Z. Doty, Bound Brook, N. J 94 Mr. E. A. Olds, Jr., Englewood, N. J 96 Mr. John D. Fearhake, New Canaan, Conn 98 Mr. F. C. Noble, New Canaan, Conn. 100 Mr. Guy Hutchison, New Britain, Conn 102 Mrs, Aymar Embury, II, Englewood, N. J. ^ 104 CONTENTS — Continued The Houses Illustrated — Cont. page Mr. Charles J. Fay, Dongan Hills, Staten Island, N. Y. . . 107 Mr. Rupert Hughes, Bedford Hills, N. Y no Mr. James C. Crane, Great Neck, L. 1 117 Mr. H. F. Sawyer, Great Neck, L. 1 120 Mr. Robert Hobbes, Great Neck, L. 1 122 Mr. John C. Brice, Langhorne, Pa. 124 The Easthampton Free Library, East Hampton, L. I. . 128 Mr. Charles F. Park, Englewood, N. J. 130 A House on the North Side of Stewart Avenue, Garden City, L. I. 132 Mrs. D. E. Pomeroy, Englewood, N. J. . . 134 INTRODUCTION INTRODUCTION How often one hears a man with apparently more than the average amount of intelligence ask, "Where can I get a set of plans to build an eight or ten thousand dollar house?" He puts the question in very much the same tone that he would use in asking you to recommend a satisfactory make of lawn- mower. If you were to answer at once, " In that hardware store at the corner; they have excellent ones there," I haven't the slightest doubt that he would betake himself into the said hardware store and demand to see their stock in house plans. Truly, that is not an overdrawn picture, is it ? I have known many men who, after years of hard work and faithful saving, were able to build for themselves a home and yet had no more clearly defined idea of how to go about getting it. One of these — a true representative of the type — ^will say, "Johnson & Johnson, builders, have just finished a mighty attractive little Colonial house for my friend Weeks. I think I'll get them to make a few slight changes in the plans and put up one just about like it for myself." Another species of the genus we are dissecting tells us that he saw a bully little cottage at the shore last summer which he is going to have Johnson & Johnson look over and duplicate for him. Still another has been cutting pictures and plans from the magazines to put into his scrap-book, from which amazingly diversified material his builders are to be instructed just what architectural potpourri they are to assemble for him. If any one of these prospective builders has any idea whatever about the architect and his function, it probably is that here is a middleman whose profit on the transaction it would be gross extravagance not to cut out. This condition of things does not exist in the older countries across the sea. In England the humblest cottage for a workingman is the product of an archi- tect's study. I take it, therefore, that recognition of the need for trained knowledge in the design of a house is a concomitant of the higher stages of civilization. This is clearly borne out in our own national history. When the Colonists first settled the Atlantic coast country they felt the need of an archi- tect's services in building because they were accustomed to this help in their fatherland. It is true that the architect and skilled builder were usually com- bined in one person, but that person was of a very different sort from the car- penter of to-day. As this influence of the mother country was gradually lost, due to the hardships met with in developing a new land and to the erasing sponge of time, the architect passed out of existence, as the architecture of the mid- nineteenth century shows with painful clearness. The past half century has witnessed his gradual re-establishment, along with many other evidences of a realization of the need for more skilled and more highly specialized work in all branches of our national activities. Our experi- A GARDEN-GATE IN WHICH DECORATIVE USE IS MADE OF CONSTRUCTIVE DETAILS ence with men who want to "buy a set of plans," however, shows us that this re-establish- ment is as yet by no means a universally recognized fact. It is not known to the majority just what place the architect occupies in the process of build- ing, what he does, and, if he is essential, why. In the first place the archi- tect is in a sense the layman house builder's interpreter of himself. His first function is to study his client and his client's needs so carefully that he will know what that client needs in the way of a house better than the client himself. No easy task, you say.'' Yet that is precisely what a physician does with respect to his patient's bodily needs; precisely what a lawyer does with respect to his client's legal needs. If we were to recognize the fact that the profession of architecture is on a plane with law and medicine, we would come very near a complete understanding of the architect and what he does. To carry the analogy a bit farther — the lawyer, while representing his client's best interests, is at the same, time an^fficer of the court; it is his duty to see that justice is done. So with the architect : while it is his duty and aim to secure for his client a building that will fully meet the latter's needs — in so far as that is possible with the means at hand — he has as well another obligation, this to the community at large, to see that his client's house is built with some regard for the, unwritten rights of his neighbors, and with some regard for the steady advancement of architecture. I have known architects who stood ready to give up a half completed commission rather than proceed under the necessity of carrying out a client's demands for such a solecism as a Tudor doorway on a Colonial house. " But I am paying for this house; it is mine alone — ^why should I not have what Iplease?" protests the client. " Mytask is to build you a consistently designed and honestly built house along the general lines that we have agreed upon. If I were a painter and sold you a signed canvas, it would be not only unfair but also illegal for you to alter that painting before hanging it for the world to see. If you were to paint my green trees blue, as a painter I could sue you for libel; as an architect I will not be placed in such a position as to have my work display a parallel ab- surdity." I would not leave the impression, however, that the architect is a high and mighty person, impatient of his client's whims and pet desires; putting to the front his own individuality instead of seeking to interpret that of his client and expressing that individuality in wood and stone. Nor would I leave ^the impression that, to build a really good house, one should go hat in hand to an architect and say, "Build me a house with this ten thousand dollars; I will return when it is finished." There is no surer way of getting a lifeless result, lacking all suggestion of individuality and displaying only the dry bones of academic design. Although the architect professes frequently to prefer such an unrestricted commission, I fancy he will in the main agree that the best results are obtained only when the client has an individuality to be expressed and when he so cooperates with his architect as to enable the latter to infuse that individuality into the building itself. There are probably a great many people who understand, without all this discussion, the function of the architect, and the need for the client's close cooperation to produce a joint work of real merit. Understanding this rela- tionship, there is undoubtedly a real lack of knowledge as to just how this desirable cooperation may be best accomplished. On the one extreme there is the man who puts himself unreservedly into his architect's hands, telling him only the limit of cost and leaving the architect to interpret the client's un- expressed desires as best he may. On the other hand is the man who comes with his ideas too definitely formed. The house must be of such and such a size, must have a living-room facing the southeast of a certain shape; there must be a sun porch on the east adjacent to the dining-room, a sleeping-porch upstairs connecting with the owner's bedroom and bath — and a score of other definite details of the programme which are made, so to speak, a part of the contract. From the start the architect is tied hand and foot by these restrictions. There is no room whatever for the play of his skill as a designer; he is merely trying to fit to- gether an architectural picture puzzle. Naturally the result will be disappointing — a jumble of units rather than a well rounded whole. Somewhere between these two extremes lies the road to a successful house. It is almost im- possible for the client to impress too strongly upon the architect the maindetailsof his ideals in re- spect to his house. The matter of style is, of course, vital. It would be a tragedy for a man who felt A GARDEN SEAT ON THE OUTSIDE OF A LAUNDRY YARD ENCLOSURE iiiiii mill Hi IllllU'illl liiiiii !i i IlliP^i!!!!! illiiiiii ■■■■■■■■II A COLONIAL FENCE WITH ALL THE DELICACY OF ITS PROTOTYPES the full appeal of exquisite Col- onial wood carving to find that his architect had designed for him an Italian house. It is almost impossible for the client to acquaint his architect too closely with the family's whole manner of life — their taste in furnishings and color schemes, their habits with regard to en- tertaining, and all the other details that will enable the archi- tect to picture to himself the practical working of the menage in its new setting. Beyond this, however, it is dangerous to go. Having contributed this much towards the solution of the pro- blem, it would be far better to leave to the architect all the details with which his years of training and experience have best fitted him to deal. He knows better than the client what sort of a heating system will best serve the particular type of house that he is building; what sort of plumbing fixtures will best fit the conflicting restrictions of limited ex- pense and the desire to have the best that is made. His experience may be trusted in the matter of windows, the choice of woods for interior finish, flooring materials, and all the other details which so many building laymen feel that they must decide for themselves. Such a course of action does not come easily to most of us. We prefer to see that each nail is driven where needed and that it is of the proper size. We have always had a weakness for a dark-stained, oak-paneled library and it savors of an encroachment upon our personal rights for our architect to tell us that we cannot have such a library treatment in our Colonial house. We may persist and have as a result a house that soon, with our increasing knowledge of archi- tecture, becomes the subject of our embarrassed apologies to visiting friends. But if we are wise we shall rather bow to a higher technical wisdom and allow our architect to fit the house to the complex demands of our own needs and the rational development of an architectural style. Every architect knows that if he allows us to build just what we think we want he will only succeed in making himself our enemy for life. I hope that all of this somewhat dogmatic reasoning will have made clear the reason for this book. If the reader still believes that herein are set forth a selection of sample houses, varying in size, in style, and in arrangement, from which he may choose a pattern to follow, then this introduction will have failed utterly in its purpose" and the book itself can hardly better matters. Each of the houses that is shown in the following pages by photographs and plans is selected with the purpose of showing in a general way how one particular architectural problem his been solved. It is hardly within the bounds of possibility that any family desiring to build will find itself with a set of conditions identical with those that have governed the design of any one of these houses. There are too many factors controlling the result : definite and specific needs as regards the number and the size of rooms as well as their inter- relation, predilection for a certain architectural style, available funds for building, a site of such and such a size with such a grade and orientation and its own particular endowment of trees and shrubs, a certain manner of life in which entertaining, outdoor sleeping, the matter of servants and a host of other such details are factors of more or less importance, never in like ratio in any two cases. It is quite likely that a goodly number of the houses herein illustrated could be made livable homes by any one of a large number of families, but that is not the idea. An architect of high ideals — and there are few who lack them — designs a house that not only will fit the everyday needs of his clients but also a house that expresses that particular family's taste and habits of life — that family's individual personality, if the term may be allowed — and that family's alone. What then is the good of making such a book as this .? In brief it is for the help that is sure to be derived from following the solving of a problem in country house design. When we studied geometry in school or college we were given "originals" to think out and demonstrate. Each was a new problem, unlike anything in the previous course of our study. The only thing that made it possible for us to solve such problems was the fact that our grounding in the basic theorems, axiums and corrollaries had developed in us the ability to think in the language of geometry. Each original, in its solution, increased the facility with which we conquered more complex problems. In just the same way the study of completed houses familiarizes us with the basic prin- ciples of design, teaches us to think in terms of architecture and enables us the more easily to solve the problem dependent upon an entirely different set of governing conditions. If we wish to meddle with details at all it is essential that we have something more than that very little knowl- edge which is such a dangerous thing. An astonishing amount of help in FURNITURE DESIGNED BY MR. EMBURY FOR HIS OWN HOUSE the ability to visualize unbuilt houses is gained by the study of plans in con- nection with photographs of the completed work. Look at a first floor plan and study the relation of the dining-room to the service quarters and to the living-room. Note where the door opens to the pantry, where the windows are located, where the wall space should be sufficient for sideboard or serving table. Then look at the photograph of the dining-room and see how the room appears in reality — just why the door to the pantry and the smaller doors to the china closet are symmetrically disposed on the central axis, whether the wall space shown on the plan really is adequate for the necessary furniture, just how the architect's ingenuity has brought a group of windows and the sideboard space together by the expedient of using a higher window in the centre of the group. Doubtless you have heard the occupants of a new house complain that they never would have permitted the placing of ingle seats by their living-room fireplace if they had but known in advance how close to the blaze they would be brought, never have permitted the omission of a door under the stairs from kitchen to front hall if they had but realized that the maid would have to go around through the dining-room in answering the front door bell. The only way to avoid like disappointments in your own house is to learn to visualize house plans — or else confess your complete ignorance of the meaning of plans and throw yourself upon the mercy of your architect. There have been very few books published that were devoted to the work of a single architect or firm of architects, so few that the form of the present vol- ume may need a word of explanation. There are three reasons for publishing the country house work of Mr. Embury. In the first place, if one accepts the hypotheses set down in the preceding pages, it is easier to learn to think in architectural terms by following the reasoning of a single mind in the working out of his varied problems. Second, if we grant the widespread lack of knowl- edge regarding the architect and his place in the scheme of things, there is no more striking object lesson that will reveal the indispensable help that he can give us than the showing of what one man has really done in helping people to build houses of distinction for themselves. And, finally, there is the excellence of the work itself. There are few architects who have found it possible to devote so much sym- pathetic study to a branch of architecture that is notorious throughout the pro- fession for the inadequacy of its material returns. When one considers that the amount of time and thought given by the architect to a ten-thousand-dollar country house is fully as great as that given ordinarily to a fifty-thousand-dollar business building, and that the fee for each is practically in proportion to the cost alone, it will readily be understood that architects do not seek the former branch of practice as a means to rapid wealth. That Mr. Embury has utilized the greater number of interesting problems offered by country house practice in developing his genius in design, with his thoughts on the problems them- selves rather than on their financial rewards, is to his credit and incidentally also to his ultimate benefit. Widespread recognition of his ability has come early in his life — he is only half way along the road to three score years and ten so that " an Embury house " is already a significant and widely understood phrase. 555 ■ The book, then, is not merely a collection of pictures and plans. It is not a book of sample designs from which one may select a house for oneself as one picks from a tailor's woolens and style plates. It is not a source from which one may clip details and graft them willy-nilly upon another growth. It is rather a record of conditions met and fulfilled, of difficulties ingeniously overcome, of architectural embellishment rationally developed from the structure itself, of personality expressed in terms of stone and wood and plaster. As such a record, may it help us to think architecturally. BRASS KNOCKERS FOR BEDROOM DOORS NOTE BY THE ARCHITECT Any creative art may be defined as being the expression in concrete form of an abstract idea ; and a successful work of art is one in which a sound and attractive idea is presented to the public in such a way that the precise view point of the artist may be instantly comprehended. Two things are then essential, the thought and its presentation, and if either of them is not ade- quate no work of art can be truly called excellent. The best story in the world badly told is not a good story; the best composition badly painted is not a good picture ; the work of an architect does not differ in essentials from that of the other creative arts, but in one important particular it differs from the arts of the painter, the sculptor, and the writer in that the expression of the idea must be deputized by the architect, while the writer, the painter, and the sculptor are able to work without intermediaries. Architecture resembles rather the drama, since the success of a building, or of a play must rest largely upon the amount of sympathy and intelligent understanding with which the author is able to inspire the collaborators, and if the playwright can present his work to the public only through the successive mediums of the producing manager, the stage manager, the scenic artist, and the actor, the architect must build his houses by means of draughtsmen, con- tractors, material men, and mechanics; and even the playwright has one advantage over the architect ; as his work progresses he is able to modify and improve it, but the work of an architect cannot be revised or rebuilt. In the pursuance of his art the architect must work not only through many men of various minds, but with stubborn and downright materials of fixed colors and definite textures, and since the painter can mix and blend his colors with complete facility so as to create the illusion expressing his idea, he is dependent only upon his own ability; the architect must adapt his motive to the colors possible, he cannot vary his palette. Even when his work is completed, perhaps successfully, its final effect has not yet been obtained, since this must depend very greatly upon the quality of the surroundings, the trees, planting, and shrubs, which make the setting, and upon the colors and patterns of wall paper, hangings, and furniture, which decorate the interior. It is not uncustomary to entrust the landscape and decorative work to men working independently from the architect, who may fail to grasp the archi- tect's purposes and thereby lessen the artistic value of the building which they are supposed to beautify, and the architect must, therefore, depend upon the landscape architect and the decorator to comprehend his 'work, as well as upon his draughtsmen, the contractors, and the mechanics ; unless all these men can sympathetically comprehend his aims and purposes, no amount of direction or supervision will answer. So when I find that I am to work with a contractor like W. E. Schlimgen, or decorators like Starbuck and Hunt, I can proceed with a better heart, for I am assured that my work is going to stand or fall on the merits of its design alone, and I cannot attribute my fail- ures to slovenly or dogmatic execution. But the most important, the most necessary of the men through whom an architect must work are not the decorators, or the contractors, or the land^ scape men, but the draughtsmen in his own office, and no one who has not been himself an architect can realize how very greatly they can be relied upon. The architect who is at all busy cannot himself make many working drawings, and he probably makes no full size details, but the difference between a stock piece and a good motive for a house well drawn and well detailed is as great as that between the same piece of music performed by a German street band and the Philharmonic Orchestra, and no amount of supervision, advice and criticism will produce the quality of drawings desired unless the draughtsmen who execute them are loyal, sympathetic and capable. Fortunately in the United States there is no profession in which higher standards obtain than among the architectural draughtsmen; their salaries are often pitifully small ; they are often worked for unbelievably long periods at a stretch; they must always subordinate their own conceptions of design to those of their employer, and they very seldom fail. Their kindness and helpfulness to each other are beyond words; jealousy and friction and deter- mination to succeed at the expense of each other, so common in other trades and professions, do not exist among them; the newcomer in the profession is helped and taught; his faults are corrected and his abilities appreciated by his fellow draughtsmen. These things I know of my own knowledge because everything that I have learned about architecture was taught me when I was a draughtsman, by fellow draughtsmen. Now that I am myself an employer of draughtsmen, I find that I am still learning from them; I look to them not only to carry out my schemes, but to advise about them, and I receive no criticism so valuable, so constructive and so trenchant as that given me by the men who work for me. From them I expect and receive sympathetic comprehension of my aims, and frank and full expressions of opinion of the way I am trying to realize them. Artists themselves, they do not substitute flattery for criticism, and, sincerely anxious that our joint work may be as creditable as possible, they never hesitate to point out defects or faults; and there is no appreciation of successful work so pleasant as that of the men who have assisted toward its success. In this note I want to express to my loyal assistants and good friends, Charles Conrad, Walter McQuade, Lewis Welsh, Lincoln Crisson, Le Roy Barton, Ruth Dean, Albert MacDonald, and Roland Gallimore, my admira- tion for them, and my appreciation of their help. Aymar Embury II lo COUNTRY HOUSES BY AYMAR EMBURY, II II 12 THE HOUSE OF MR. H. B. CLARK NEW CANAAN, CONNECTICUT THE GARDEN PORCH 13 THE LIVING ROOM LOOKING TOWARD THE FIREPLACE ■^^ 1 1 THE PLAN OF THE FIRST FLOOR 14 THE HALL >i.P tODrt'l THE PLAN OF THE SECOND FLOOR 15 ^^PBSHHJP The dining room is paneled in white the full height of the room, with a simple molded cornice at the ceiling, and a fire- place of Colonial type is flanked by two glass closets. The living room is paneled in dark oak, and the hall has white walls with a hand-hewn beamed ceiling. This house was built quite far out from the town of New Canaan, and the whole building was designed to resemble rather an enlarged farmhouse than a Colonial mansion, and simplicity was the end sought for rather than formality. Keeping this in mind the motives used throughout both the interior and exterior were those which were known to the country designers of the Colonial period, although the architect did not endeavor to reproduce the Colonial style very closely. i6 T7 lis^xr^J':^ i8 THE HOUSE OF MR. LOUIS STARR, JR. TENAFLY, NEW JERSEY B±m THE ENTRANCE DOOR a ■aE.jp^^g,Oi«' ill EfflD D •ittj^^goM- ^^ ■St& l&aeft^' 71 M THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 19 THE HOUSE OF MR. HENRY R. TOWNE LITCHFIELD, CONNECTICUT ^'ft'''''^H ....- .^-mil^m - ■ . . iq iu-iif -Bma'^B^^^W^BB^^^^^B^BB apKife^^ THE CHAUFFEUR'S COTTAGE AND GARAGE . 21 22 A DETAIL OF THE MAIN ENTRANCE 1 y 23 THE HALL LOOKING TOWARD THE ENTRANCE SIDE THE PLAN OF THE FIRST FLOOR 24 T THE DINING ROOM THE PLAN OF THE SECOND FLOOR 25 '16 THE HOUSE OF MR. NICHOLL FLOYD, JR. GARDEN CITY, LONG ISLAND ENTRANCE DETAIL 27 w ^ ?f-^ ^8 THE PLAN OF THE URST FLCXJR The color scheme of this house is gray, white, and green, the gray much Hghter than would appear from the photographs, with no such great apparent contrast between the stucco and trellis which is of course intended to form a support for vines. The house was designed to appear as low as possible, but in the third story there are two admirable guest rooms and guests' bath room, in addition to the accommodation shown in the first and second floor plans LTHE PLAN OF THE SECOND FLOOR 29 30 THE HOUSE OF MR. F. P. CLARKE GARDEN CITY, LONG ISLAND DETAIL OF THE MAIN ENTRANCE — 1 B^^ Au^'fitPEocw^ " ,,,,v,. , V -^1 4: ffi N / ~De,v BooAi ra^ ^: pH 1 — - be.? E.e>oj»-" ~ CaAvji^ Roo^ Aai-1. iL Sil H - 1 Tiff Coo"^ -f 1 sail^s; RoOrt- _ s3= ^ ™ 1=- dft^d T- ^^ Lp^ THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 31 32 THE HOU S E O F MR. JOHN A. KINGMAN BRIDGEPORT, CONNECTICUT The owner of this house came to the architect with sicetches for both the exterior and interior so admirably thought out that practically no sketches by the architect were necessary, but the working drawings were made with little or no change from the scheme desired by the owner. A case like this is of course unusual, since although most owners have a pretty well developed idea of what type of house they like, few of them have the knowledge or training sufficient to enable them to so completely visualize their desires and to express them to the architect in so concrete a form /'//// THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 33 ■^^ ^^-'. ...'■■^^'^..x.^^^»Mmm»>mm,^m^mim MAIN ENTRANCE DETAIL Or THE KINfiMAN HOUSE 34 THE HOUSE OF MRS. HARRISON SANFORD LITCHFIELD, CONNECTICUT ,A DOORWAY OF THE REMODELLED SANFORD HOijSE 35 36 THE OUTSIDE ENTRANCE TO THE DINING-ROOM This is an old house which had been extensively remodelled some twenty-five years ago, much to its detriment, so that the principal work of the architect was to restore it to its conjectured original form THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 37 38 THE H O U S E ,.0 F MRS. ST. GEORGE BARBER SOUTH RIVER,- MARYLAND PORCH DETAIL FIRST FLOOR PLAN 39 40 THE HOUSE OF MR. GEORGE B. WIGHTMAN GREAT NECK, LONG ISLAND This house has a very economical plan, and the simplest exterior which can be made attractive, and for a house where con- siderable accommodation is needed at a minimum of expense there is probably no other style so satisfactory to use. But it must be remembered, that, in a house of this character, the shape and proportion of the whole building and of the window openings must be much more carefully considered than in the usual house where ornamentation can be depended upon to add to its appearance THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 41 42 ••HILLCREST" ENGLEWOOD, NEW JERSEY THE REAR OR DRIVEWAY ENTRANCE FRONT THE PLAN OF TJJE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 43 A COTTAGE ON THE WEYMOUTH ESTATE SOUTHERN PINES, NORTH CAROLINA >.i/{ -r" THE FLOOR PLAN 44 A COTTAGE ON THE WEYMOUTH ESTATE SOUTHERN PINES, NORTH CAROLINA THE FLOOR PLAN 45 46 THE HOUSE OF MR. E. S. CLARKE TENAFLY, NEW JERSEY THE ENTRANCE DOORWAY THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 47 48 THE HOUSE OF MR. MARSHALL FRY SOUTHAMPTON, LONG ISLAND THE DINING-ROOM • riEST rLOOE - PLAA- OtCOAP- FLOOE- PLAA'- 49 rJ.^^ * ^ IW'-- iV ^Jte^^iLiA ^li^ 50 THE HOUSE OF MR. HITER KING GREAT NECK, LONG ISLAND The most unusual feature of this house is the terrace across the front, which is worked out in an interesting pattern of brick and various colored cements Hke a mosaic. The house itself is of a familiar type with the exception of the recessed entrance and the inclusion of the windows and panel above into a single motive SI 52 THE DINING-ROOM THE PLAN OF THE SECOND FLOOR THE PLAN OF THE FIRST FLOOR S3 54 THE HOUSEOF MR. SWIFT TARBELL GARDEN CITY, LONG ISLAND DETAIL OF THE MAIN ENTRANCE THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 55 S6 THE HOUSE OF MR. E. M. SPEER ENGLEWOOD, REW JERSEY A DETAIL OF THE MAIN ENTRANCE THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 57 58 THE HOUSE OF MR. R. M. ELLIS GREAT NECK, LONG ISLAND THE HALL THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 59 6o THE HOUSE OF MR. F. E. RICHART WELLSVILLE, NEW YORK THE ENTRANCE FRONT AND SERVICE END The house illustrated above might be called the result of architecture by correspondence, since the materials were selected, contracts let, and the building supervised entirely by the owner, it being much too far from New York to permit of visits to the work. Constant communication by letter was kept up, and samples of the materials were submitted to the architect from time to time as the work proceeded -" 6i THE REAR OF THE RICHART HOUSE SHOWING THE DINING PORCH IN THE CENTRE THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 62 THE HOUSE OF MR. GEORGE R. AINSWORTH GREAT NECK, LONG ISLAND The doorway illustrated above was in motive copied from an old Dutch farmhouse on Long Island, but the setting was entirely different from that of the original, which had no cir- cular treatment above it, and it has been very happily adapted to its new position 63 64 THE LIVING-ROOM THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 6S 66 A HOUSE ON THE SOUTH SIDE OF STEWART AVENUE GARDEN CITY, LONG ISLAND THE BREAKFAST PORCH END fr THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 67 68 THE HOUSE OF MRS. GEORGE M. GALES GREAT NECK, LONG ISLAND f''^'i^ X, •i S' ^t^' THE PIAZZA END THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 69 70 THE HOUSE OF MR. E. T. McINTYRE GREAT NECK, LONG ISLAND This small house was designed to fit a position between two others, one of which was of stucco, and the other of shingles, and in quite dissimilar styles. It was therefore executed in a combination of the two materials and designed in a way which gave it a character of its own, without injuring its neighbors. The color scheme is buff for the stucco, white for the upper walls, dull light green for the blinds and reddish brown for the roof V-^ THE PLAN OF THE FIR.ST FLOOR THE PLAN OF THE SECOND FLOOR 71 72 THE HOUSE OF MR. LEE WILSON DODD NEW HAVEN, CONNECTICUT DETAIL OF THE MAIN ENTRANCE 73 ANOTHER VIEW OF THE TERRACE SIDE fFi tff i TF Ti — If P>^•^^■'■■■^'^i THE PLAN OF THE FIRST FLOOR 74 THE HALL THE PLAN OF THE SECOND FLOOR 75 76 THE HOUSE OF MRS. E. R. GRAEME ENGLEWOOD, NEW JERSEY DETAIL OF THE MAIN ENTRANCE THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR n t-^.Ti. ,^-n 78 THE HOUSE OF MR. RALPH PETERS GARDEN CITY, LONG ISLAND THE END VERANDA 79 THE TERRACE % »^ -^=^1 ^ THE PLAN OF THE FIRST FLOOR 80 THE CORRIDOR ON THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 8l i«j.--ii,ai?»>4-jEiK! 82 THE HOU S E O F MR. HENRY S. ORR GARDEN CITY, LONG ISLAND Most projecting porches on gambrel roof houses do not harmonize well with the broken roof lines, and in this case a recessed porch, with stucco columns heavy enough to appar- ently support the weight above it, was substituted 83 84 THE HALL THE PLA>f OF THE FIRST FLOOR ^ ^ THE PLAN OF THE SECOND FLOOR &s 86 COTTAGE FOR MR. STANLEY G. FLAGG, JR STOWE, PENNSYLVANIA DETAIL OF THE ENTRANCE THE PLAN OF THE FIRST FLOOR THE PLAN OF THE SECOND FLOOR 87 WORKMEN'S COTTAGES FOR MR. STANLEY G. FLAGG, JR. VILLA NOVA, PENNSYLVANIA THE TWO COTTAGES FROM THE STREET SIDE HHM THE FIRST FLOOR PLAN OF THE TWO COTTAGES 88 WORKMEN'S COTTAGES FOR MR. STANLEY G. FLAGG, JR VILLA NOVA, PENNSYLVANIA THE TWO COTTAGES FROM THE REAR ,- Tim rti. iiiiii THE SECOND FLOOR PLAN OF THE TWO COTTAGES 89 90 THE HOUSE OF MR. FREDERICK JORDAN GREAT NECK, LONG ISLAND iaHmmamm,,^^ ^ - -- — DETAIL OF THE MAIN ENTRANCE \ ^I^Bt J ■iuii'on, -^ =» boot qiifJT B.OQM- »<*-.y'." M ' f * ^ '{ * 1^ t i^K» « * _^ >J f «■■■■■* isV' % / * f 4 ft,